They’ll be coming back from the dead at Green-Wood Cemetery tomorrow, and they’re not happy. No need to call Ghostbusters — they’re merely actors in “The Spoon River Project.”

Tom Andolora was teaching “The Spoon River Anthology” to his Brooklyn College class when he had a brainstorm: Why not perform it in a cemetery? After all, Edgar Lee Masters’ 1915 classic is composed of 240 poetic monologues performed by the deceased inhabitants of the fictional Midwestern town of Spoon River.

Originally serialized in newspapers, it was an instant sensation.

“It spoke about things that people had never read about before — abortion, suicide, murder, who’s having an affair, who killed someone’s lover,” Andolora says. “It’s very intense. They’re not happy people.”

His 80-minute show features 11 actors and three musicians, plus period songs like “In the Gloaming.” Unlike the sanitized version long performed in high schools and colleges, this one — because of its mature subject matter — is off-limits to those under 15.

It had a trial run two years ago at a picturesque cemetery in Jamestown, NY, his own and Lucille Ball’s hometown.

It went over so well that Andolora approached Brooklyn’s legendary Green-Wood Cemetery, the final resting place of Horace Greeley, Boss Tweed, Jean-Michel Basquiat, Leonard Bernstein and other notables.

Opened in 1838, its 478 acres, with gorgeous grounds and monuments, was once second only to Niagara Falls as New York state’s most popular tourist attraction.

Cemetery president Richard Moylan was instantly receptive.

“We’ve got 500 acres here, and we’re keeping the gates locked,” Moylan recalls thinking when he took charge in 1986. Since then, he’s instituted an ambitious program of concerts and lectures, including a dance piece, “Angels and Accordions.”

Even so, this will be the first theater production there; a site-specific “Our Town,” fell through a few years ago.

“The book was about telling stories, and that’s what we do here,” Moylan says of “The Spoon River Project.”

It also fits in with his long-term goal. The cemetery is about two years away from running out of burial plots, so Moylan’s intent on once again making Green-Wood a popular destination.

The show is being performed on a hill so deep within the grounds that the audience will take a trolley to get there. Evening performances, which include midnight shows as well as tours of Green-Wood’s rarely opened catacombs, will be lit only by torches and lanterns, adding to the eeriness.

Carl DeForrest Hendin, 23, is just one of the actors excited about the location.

“I’ve always been on a stage with a proscenium arch, so this is kind of liberating,” he says. “It’s probably the most beautiful place I’ve ever seen — so peaceful, too. It’s very quiet, except for the rustling of the leaves.”